- Week 3 Mar 4th Reflect on current production, note relationship to readings, narrow down to key artists/works/methods.
Regarding the contextual study, I think I have a working title, 'The Material Culture of Everyday Life, using materials to sway emotion and confine chaos'. I've happily discovered Maxine Bristow ( www.maxinebristow.com), and from that the Transition and Influence archive by UCA (www.transitionandinfluenceprojects.com) which I'm currently working through. I've realised today that a big barrier I have here is self-confidence, a lot of the artists that are coming up are ones I researched during my BA and as I had quite a negative experience I'm finding it difficult to revisit them without evoking self-doubt. That's certainly a challenge I didn't anticipate!I'm reading and actually do feel like I'm making some progress but it's a little muddled and I'm jumping around with it as I rocket off in to my thoughts as I get excited, having to work at reigning it in to keep the process coherent. I'm doing my best to give myself a break and the frustration levels are going down, but it's all a process.Thoughts: What am I doing thats new? How am I bringing value? Am I getting my exploratory project and the contextual study mixed up. How can I write about my practice at the same time as being pushed to challenge it? It feels like contradictory to almost set a practice in a tangible form through a contextual pieces while being expected to push the boundaries of where the practice lies.On material culture: Our homes become more comfort driven and softer as our businesses and education centres become open, clinical and hard: glazing, concrete, enamel vs woods, wools and rattan.Material culture of everyday life, using materials to sway emotion - comfort, fear etc. Immersion, immersive new media and textiles, could they work together to give a comforting or challenging experience?Artists:Sue Lawty:
19sl Stone Drawing: Series 0414, Sue Lawtynatural stone on gesso, 6 panels, 10.5” x 8.25” each, 2010, $7,400 (SOLD)20sl Woven Lead: Series 1210, Sue Lawtylead warp and weft, hand woven and beaten, plexi, 10.5” x 8.25” each, 2010, $7,400
Statement:‘I seek an understated restraint, balance, tension, rhythm: an essential stillness.
The work is rooted in an emotional, spiritual and physical engagement with the land, drawing on direct experiences of remote, raw, edgy landscape and specifically rock. It has been described as ‘meditative… a deeply contemplative experience’.
Constructed pieces and drawings in two and three dimensions are abstract and minimal. They explore repetition and interval; investigating territories of expression in raphia, hemp, linen, lead, stone or shadow.
Sue Lawty
‘…Lawty is developing links between contemporary use of unconventional materials and traditional practice… Cultural and personal narrative is concerned with the substance of things, the nature of cloth; it’s structure and feel. She is exploring ideas of individuality and universality, a single thread within a piece of cloth, or a single stone on a beach made of millions of stones. The mapping of place and space, the structure of the landscape, the sense of time…’
Professor Lesley Millarhttp://www.browngrotta.com/Pages/lawty.phpChika Ohgi:
vague sense of distance (2009)vinyl, my family clothes
http://chikaohgi.com/works/sense_distance.html
I am looking at the interface between the space and the objects.I consider the space as important as my objects.This is why I am interested in the edges of objects.Each object has a very subtle boundary between the space and itself. So the objects integrate themselves into the space.
I keep making, not knowing the consequence of my actions.The answer for my questing will only be revealed when it is installed in a space.My installations are gradually revealed to the spectators by the passage of time.
Chika OHGI
https://lha.uow.edu.au/taem/artistsinresidence/UOW220670.htmlMachiko Agano:
Japanese master weaving artist and artisan Machiko Agano is known for her elaborately woven structures usually created to be installed in a specific space. Many of Agano’s works use translucent or neutral coloured materials to portray delicate natural emotions, and allow the characteristics of the surrounding space to penetrate and reflect the work.
https://trendland.com/machiko-agano-textural-installations/Kiyonori Shimada:
DIVISION - 2009 - W
http://www.miniartextil.it/artist.php?post_id=254&lang_id=1
Believing that cloth itself, by its very nature affects our emotions directly, he creates monumental installations of stitched layers cloth. White, or red, or earth coloured, the installations surround the viewer, move gently and echo primordial forms.
http://www.directdesign.co.uk/testDD/transition_gallery/kiyonorishimada.html#Division
Ealish Wilson:
50/50 : DIGITALLY PRINTED TYVEK AND VELLUM CIRCLES 42" x 42"
My work investigates pattern and its transformation through surface manipulation. Influenced by travel, architecture, the aesthetic traditions from Japan and the Arts and Crafts movement, my textile constructions showcase materiality using a variety of substrates and structural form created through a process of continual manipulation.
The printed surface is where the manipulation starts. Photography plays an essential yet subtle role in my work. I capture imagery from daily life, various cultures and architecture to create my digitally manipulated textiles.
Using techniques normally associated with fashion, such a pleating and smocking, I work meticulously by hand to create structure, which starts to morph the custom-made textile into new iterations. Once, again, I turn to the photographic process to rework the patterns and print the transformed textiles onto cloth before finally pleating and smocking into my textile constructions. This dialogue between architecture, patterns, photography and material is the fundamental thread throughout my work, honoring the time to create beautiful objects that endure.
http://ealishwilson.com/g6fw3pdujgja4bq3zqad5wohhdkoiwLiz Nilsson:
“To Capture Silence” - an exhibition by Joe Hogan and Liz Nilsson, at the Source Art Centre, Thurles, 4th December 2014 - 31st January 2015.
These new abstract printed tableaux in grey tones, make reference to both the construction of life and the construction of cloth, threads and lines that meet, connect and move on - like the human process.The work is strongly linear, evoking a natural pattern and conducive of thought through repetition.
Using her experience as an artist, designer, facilitator and curator, she fabricates site-specific collaborative projects which investigate the connection between place, space and belonging.
Liz also have a strong interest in visual rhythm, pattern and repetition. She incorporates print, tactile mark making, photography and drawing in her projects, concluding in installations, printed compositions and socially engaged projects.
Rhiannon Williams:
https://criticalcloth.wordpress.com/page/2/
Patchwork as Critical Practice: 'I describe my own work, somewhat provocatively, as "intellectual sewing" conducted in the manner of a critique. My methodology supports the agenda for integration of theory into practice, arriving at an interdisciplinary approach that promotes mutuality of theory with practice as a working model.'
https://criticalcloth.wordpress.com/
Repetition and time are key elements in the work of Rhiannon Williams. Patchwork cloths created from newspapers and the detritus of modern life are used to reveal and critique aspects of the way we live.
http://www.transitionandinfluenceprojects.com/gallery/rhiannonwilliams.htmlAlana Tyson:
Installation view Ruthin Craft Centre, Lining and thread, inflatable, sound. 2.5m x 4m x 3m, 2015
http://www.alanatyson.com/interior/4589307860
Alana Tyson’s work attempts to make sense of the world she inhabits. Identifying herself as an outsider, not just because she is an immigrant to the UK, Tyson keenly feels the friction of everyday life and the contradictions and hypocrisy of society. Dismayed by such platitudes as "that is how it has always been," her uncertain questioning takes the form of performance, sculpture and installation utilising found, altered and constructed elements.
http://www.transitionandinfluenceprojects.com/gallery/alanatyson.htmlMaxine Bristow:
COMPONENT CONFIGURATION 010914 - CH2 2LB, STUDIO SPACE, UNIVERSITY OF CHESTER 01.09.14 - 26.10.14. Shown within the main studio space at the University of Chester, this presentation of work was the outcome of a period of speculative studio enquiry during the summer vacation period in 2014.
I am an artist and academic who draws on the material and semantic conventions of textile; using these as a point of departure for an artistic practice that variously takes the form of wall based objects, sculpture and installation. My practice, research and teaching experience, however, extends beyond the specificity of textile and is concerned more broadly with a material sensibility within contemporary fine art practice. Of central concern is material agency and the affective dimension of the aesthetic experience. I am particularly interested in the way that a material aesthetic opens up our sensuously bound encounter with the world and how the affective intensity of this encounter opens up a productively indeterminate space where boundaries become blurred and meaning is unable to settle.